Percy finally shuffles off his mortal coil after realizing why he and Steven came into each other’s lives: a drunken, bereaved Percy was behind the wheel in the hit-and-run that killed Steven’s ladyfriend, and the universe brought them together so Percy could atone. Cut to Percy’s posthumous art show, as a crestfallen Steven eyes the paintings. He recognizes one of the figures in the paintings, and a friend of Percy’s informs him that it’s Percy’s dead ex, painted from memory. To Steven’s horror, he realizes he was the one who murdered the guy. None of this is shocking. Brown piles on enough foreshadowing to blot out the sun; he even begins the film with a flashback scene that shows Steven’s unwitting killing of Percy’s lover, teasing the audience that hey, this just might end up being important down the line. Even after doling out all his non-twists, Brown has one more hoary trick up his sleeve. As Steven staggers out of the gallery in a daze following the revelation, a 16-wheeler lays him out on the pavement. He wakes up in a hospital bed, and of course, the doctor softly informs him that he’s lucky to be alive. The audience isn’t likely to feel similarly.